ATOM HEART MOTHER

Atom Heart Mother was the album that followed in the footsteps (and ultimately surpassed) the eclectic Ummagumma. The term "underrated" can't seriously be used for an album that went to #1, but "undervalued" is definitely a word that could describe this 1970 progressive classic. Floyd continued to experiment with "real music" (see: Rick Wright's comment in my Ummagumma review) going even further by adding an orchestra and choral piece to the mix to create a true rock suite. The AHM Suite may be frowned upon by members of Floyd and some critics, but it is a superb piece of progressive symphonic rock and the highlight of the entire album. The remainder of the AHM album featured another soft, poignant piece by Waters (If), a throwback to psychedelic pop (Summer '68), a classic Floydian track used to this day by David Gilmour in his solo shows (Fat Old Sun) and the penultimate collage of musique concrete created by the band (complete with theatrical performance in live shows), Alan's Psychedelic Breakfast.

Track by Track:

ATOM HEART MOTHER : Picking up where they left off with Ummagumma, Floyd kept on the unconventional path of art rock endeavors with this incredible symphonic rock suite. Bringing on board the progressive composer Ron Geesin, the Floyd's simple "Western theme" was given an otherworldly turbo boost by Geesin's orchestrated composition. Divided in movements (like classical music), the 23-plus minute epic begins with "Father's Shout" featuring Rick Wright's organ and a sweeping brass section that sounds remotely similar to an intro for a 1960s TV Western and is the main theme of the entire piece. The following sections all range from around 3-5 minutes in length with "Breast Milky" beginning with a cello solo and developing further with the full band (Floyd) coming in strong and ending with a choir that segues into "Mother Fore", a ghostly dramatic choir section that climaxes before softly giving way to classic Floydian funk-rock (which they would bring back on Echoes) called "Funky Dung". The next movement of the suite called "Mind Your Throats, Please" is itself sectioned into two parts: one that is mostly reminiscent of the middle section of "Interstellar Overdrive" with experimental sound collage and effects followed by a sort of reprise to the main theme from part 1 with "Remergence". This soundscape is pure adventure from beginning to end!

IF : Immediately following the "pomp and circumstance" of the Atom Heart Mother suite, this song takes the listener into a complete 180 u-turn with its extremely soft arpeggio guitar and Waters' reflective vocals. "If" could be described as a pastoral introspective song that is truly the genesis of Waters' lyrical genius. So much so, that Waters has even showcased the song on some solo tours.

SUMMER '68 : Ah, here Rick Wright takes it back a couple of years to the Summer of '68 (literally). This song is a piece of nostalgic pop psychedelia that brings to mind "Remember A Day" or "It Would Be So Nice" before Floyd took the progressive rock mantle and ran with it. Although it is indeed a bit of a throwback, it fits quite nicely with the morning quality of the second side of this album due to Wright's liberal use of the Hammond organ.

FAT OLD SUN : This may be David Gilmour's best song of the classic Floyd line up. "Fat Old Sun" is a sort of sequel to Waters' "Grantchester Meadows" and, in my opinion, is far superior to it. The lazy feel of the song with Gilmour's laid back guitar and smooth falsetto vocals creates an atmosphere much more relaxing than "Grantchester" or "If", and even when the rock guitar solo takes off it still carries that vibe while becoming one of Gilmour's pure rock n' roll showcases at the same time. Variety, tenderness, reflection giving way to the soaring guitar solo makes "Fat Old Sun" one the best tracks on the album, and in the Floyd canon. David Gilmour brought this song "out of retirement" on his 2001 Royal Albert Hall show and kept it in his solo repertoire ever since, and for good reason -- it is pure Floydian bliss.

ALAN'S PSYCHEDELIC BREAKFAST : My bias may show here, but I adore this innovative little sound collage of effects and noodling. This piece of musique concrete was showcased just a few times on the AHM tour, complete with the band cooking breakfast and enjoying a bit of theater performance onstage. The man featured in the song, Alan Styles, was a roadie of the Floyd's and his mumbling, while preparing breakfast, corresponds nicely with the morning music offered here by Roger, David, Nick and Rick. Like AHM, it is sectioned into parts. "Rise and Shine" (part one) is a jolly piano piece backed by organ, light percussion, bass and steel guitar that sounds almost faintly familiar to something by Francis Poulenc. The next movement, "Sunny Side Up" was strictly a Gilmour guitar piece creating an early misty morning atmosphere that segues nicely into the finale "Morning Glory" which brings back the entire band and is, by far, the best section of the track, with Waters' bass dominating and leading the charge into a new Floydian era.

Overall: This album is definitely undervalued. It is a clear work of progressive genius and it is really ashame that it doesn't receive the kudos it deserves for pioneering in the Prog Rock movement of the 1970s and taking Pink Floyd into the direction that would lead them to super stardom. I think in hindsight this album took its rightful place at the top of the charts in 1970, and it should now be regarded as not only a little appreciated effort, but an essential piece of progressive music. 5/5

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